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Ladies & Gentlemen is/was/is an all-encompassing arts magazine. It started as a physical release in 2001, accompanied with 12" record and screenprinted covers. It's been 4 years since it was last published, but don't let that stop you... buy one now!

Earlier this week, we kicked off our obligatory year-end coverage with the 10 best songs of 2010, as decided by, well… me. As promised, we continue today with the much-anticipated “Part Two” of that post. Ladies and Gentlemen, I give you the Best Records of 2010… also decided upon by me (in case that wasn’t clear). Enjoy.

Best Records of 2010:

10. Games – That We Can Play

Can I put an EP on my “Best Records of 2010″ list? Of course I can, it’s my list and I make the rules. Games‘ That We Can Play is 5 tracks of vintage ’80s synth-pop bliss (plus a remix). The observationally astute amongst you will recall “Strawberry Skies” was already #2 on my Top Songs list. It’s the clear jam of the bunch, but the remainder of the EP isn’t too far behind. While the duo, Daniel Lopatin of Oneohtrix Point Never and Tigercity’s Joel Ford, clearly play in the throwback end of the pool, their sound can’t be mistaken for anything but contemporary. It is as much 2010 as it is 1984. Also, rumor has it that Games will be recording a 2011 full length in Jann Hammer’s studio (yes, he of Miami Vice theme song fame), which, in a weird and awesome way, makes a lot of sense.

9. Buke & Gass – Riposte

Because I just wrote about Buke & Gass for a Lagmag piece, I’ll let my earlier self do the talking here for a bit: “Yes, that sound you hear coming through your speakers (or from that stage) is made by two people. Granted, these are peculiar sounds, but it’s the complexity that belies their true number. To an extent, the peculiarity can be attributed to their self-built instruments. Arone Dyer plays the “buke” (a modified six-string baritone ukulele), and Aron Sanchez the “gass” (a guitar-bass hybrid), which are both filtered through various invented pedals and amps. Combined with complex percussion (played simultaneously with their feet, of course), Dyer’s intricate vocal melodies, and other miscellaneous hand-claps and snaps, and you start to see where this impressive racket comes from.” Fair warning, that impressive racket digs into your brain and doesn’t let go, and you’ll eventually start hearing Riposte loops in your head. The only remedy? Putting the record back on.

Pick Three is semi-regular feature in which we ask an artist to pick three songs from their new or upcoming record, and give us their thoughts, stories or insight for each. Think of it as a director’s commentary track that you have to read.

Believe it or not, Brooklyn-based Buke & Gass (pronounced Byook & Gace, since I know you’re wondering) is a duo. Yes, that sound you hear coming through your speakers (or from that stage) is made by two people. Granted, these are peculiar sounds, but it’s the complexity that belies their true number. The peculiarity can be somewhat attributed to their self-built instruments. Arone Dyer plays the “buke” (a modified six-string baritone ukulele), and Aron Sanchez the “gass” (a guitar-bass hybrid), which are both filtered through various invented pedals and amps. Combined with complex percussion (played simultaneously with their feet, of course), Dyer’s intricate vocal melodies, and other miscellaneous hand-claps and snaps, and you start to see where this impressive racket comes from. In an attempt to gain some further insight into their process, we asked Dyer & Sanchez to talk to us about three tracks from their recent release, Riposte.